Suchergebnisse

De L'Ouvrage que j'ai publié, il y a deux ans : Baroque et classicisme, M. Pierre Francastel a présenté, dans un récent numéro des Annales, une critique où il a dosé des éloges que j'accueille comme des. encouragements et des objections auxquelles sa courtoisie et la bonnegrâce de M. Fernand Braudel m'invitent à répondre. Il a émis quelques opinions que je voudrais, à mon tour, discuter. Le tout dans ce climat d'estime réciproque et .de sérénité auquel nous attachons l'un et l'autre le plus grand prix. Pourquoi dissimulerais-je, en outre, ma satisfaction de retrouver, après une trentaine d'années, l'hospitalité de ces Annales dont je suis fidèle lecteur et que la bienveillance de Marc Bloch avait jadis ouvertes à l'un de mes premiers articles ?

This essay investigates tragic theater from French classicism to German classicism in relation to the ritualized ceremonies and spectacles of the early modern state, which I summarily refer to as ceremonial theater. From the seventeenth to the nineteenth century, the relationship between tragedy and ceremonial theater went through four major phases: 1) sponsored by the state, tragedy was initially continuous with ceremonial theater; 2) finding a new source of the tragic in the implacable conflict between public sovereign power and insistent desires of the royal flesh, Racine created a tragic theater that contested ceremonial theater; 3) after Racine, ceremonial theater and tragedy moved in sharply diverging directions, with the former falling into a steady decline and the latter turning towards the sentiments and concerns of private persons; 4) in German classicism, especially in Schiller's classical dramas, ceremonial theater and tragedy were joined together again—by means of the appropriation of ceremonial theater by the tragic stage. Now the tragic stage established itself as an autonomous realm of the imagination, in which the moribund ceremonial theater came back to life. In the course of these centuries, the aesthetics of tragedy had changed, while the political world witnessed dramatic transformations. A study of European tragic theater in relation to political rituals during this eventful period, therefore, provides a new perspective on the interaction between aesthetics and politics.

International audience ; C'est assez que d'être » nous dit Mme de Lafayette en ce dix-septième siècle, qui, héritier de la Réforme et de la Contre-réforme, traversé par des convulsions politiques qui vont de la Fronde à l'absolutisme, voit naître au sein de son élite intellectuelle, dans les salons mondains, l'adhésion à la pensée augustinienne qui semble une réponse aux décentrements du siècle. Les augustiniens font donc le pari d'accéder par cette morale théologique et humaine, aux valeurs suréminentes de la vérité de soi.

'Classicisms in the Black Atlantic' explores how black authors and artists in the Atlantic world have shaped and reshaped the cultural legacies of classical antiquity from the aftermath of slavery up to the present day to represent black voices and experiences, often revealing in the process effaced black presences in classical antiquity.

This article is an attempt to revise and extend two prior conceptions: Adorno and Horkheimer's dialectic of Enlightenment and Murphy and Robert's dialectic of Romanticism. It traces a developmental trajectory within German Kultur, starting around the mid-18th century, that goes through three moments or phases: the Grecophilia of Goethe and Schiller, the Grecomania of Hölderlin, Schelling and early Hegel, and the Grecogermania of Wagner, Nietzsche and Heidegger. The latter provided the ideological underpinning of Hitler's Nazism. Thus the paper aims to show that Nazism had deep roots within the soil of German Kultur, for almost from the very start Classicism and anti-Semitism were integral aspects of the one cultural movement. Furthermore, this movement was the one surrogate form of a Neo-Pagan and anti-Christian trend in German modernity.

When in 1930 Henry Seidel Canby scrutinized the neo-classic philosophy of Harvard professor Irving Babbitt, his article was considered a final examination by the editors of the Saturday Review Literature. They entitled it "Post Mortem." But Babbitt's views, known as the New Humanism, have been tough enough to outlive than one literary critic's autopsy. Older than his rhetoric, Babbitt's philosophy remains vital today. It is more than a mere obstacle to Ph.D. candidates in English literature or political science. assumes a pressing relevance as Americans toward the middle century seek peace of mind in an armed and inexplicable world nations far from united.